On Writing: Coeds with Intestinal Fortitude Eating Veggies

January 31, 2008 — Pat Bertram

Coed is a term that was born in the nineteen thirties when women enrolled in previously all-male colleges, and it is a term that should have died there. Writers today are careful about not using other sexist terms, but coed is still prevalent. Short for coeducational student, it is demeaning when used as a term for a college woman. It says that men are students, and women merely co-students.

Writers who do not fall into that trap often fall into another, calling a man/woman team, such as police partners, a coed team. Unless it refers to education, it is meaningless. When applied to unisex restrooms, coed might be appropriate, but then, as adults, what can we learn about the opposite sex in a restroom that we don’t already know?

So, do your writing a favor, and can the coed.

Intestinal fortitude is another term that ties my guts into knots. I suppose with all the indigestible food that we eat nowadays, intestinal fortitude could refer to the digestion process and the garbage that goes in one end and the crap that comes out the other, but any other application is ridiculous.

So use plain old fortitude or have the guts to say guts, and leave the overly cute and clichéd intestinal fortitude in the toilet where it belongs.

And don’t get me started on veggies. I will merely say that kiddies might need to be coaxed to eat veggies, but we are adults, and we should eat vegetables and write vegetables.

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And the Tension Builds . . . Yawn

January 29, 2008 — Pat Bertram

Alfred Hitchcock is often referred to as the master of suspense, but I find some of his movies dreary. The tension rises at a leisurely pace and there is nothing to relieve the single grey note of suspense. By the time I am halfway through one of his films, I hope that everyone dies and gets it over with.

For me, the problem with these movies is that they have no sense of humor. A bit of comic relief would give the films color, would make the suspense more surprising by comparison and the revelations more shocking. Anyone who is familiar with color knows that this works. Yellow is brighter in the presence of purple, its direct opposite on the color wheel, than in the presence of any other color, and purple is more vibrant in the presence of yellow.

I am trying to cultivate humor so that I don’t turn out to be a single-grey-note writer. I’m not planning to add slapstick to an otherwise serious story; nor am I planning to use a lot of clever quips and one-liners. They get annoying after a while, and overshadow the plot. A touch of quiet humor works just as well and makes readers (or film watchers) let down their guard so they are more susceptible to deadly thrusts.

There are many ways of being humorous. One can juxtapose different character types as I did in Daughter Am I. I did not intend for the book to be humorous, but parts of it ended up that way because of Mary’s relationship with the old gangsters. The humor did not come from the age difference but from value differences. The old gangsters had no problem breaking the law, and Mary did.

One can also have a character say or do the opposite of what is expected. The classic Lou Grant remark from Mary Tyler Moore is a good example: “You’ve got spunk,” a pause, then, “I hate spunk.” Or one can have a character struggle to come up with a witty remark and finally come out with a simple “Hi.”

Humor does not come naturally to me, but then, even funny people have to work at it. Agents and editors have rejected me because they say they don’t fall in love with my characters. Maybe a bit of humor will make my characters more lovable. It will certainly make writing them more fun. At the very least, they (and my books) will not be colorless.

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On Writing — The Theme’s the Thing

January 27, 2008 — Pat Bertram

Theme reminds me of literature classes and discussions about what certain authors meant. I wonder if those authors would agree with the meanings ascribed to their works, or if they are laughing in their graves at our foolishness.

It’s bad enough saddling classics with themes, but I have never seen the purpose of theme as it pertains fiction today. I mean, who cares? When you read Grisham or King or Cornwell, do you stop and ask yourself what the theme is? Of course not. No agent or editor who considered handling one of my books ever asked me my theme, so I have to assume they don’t care either. Yet all the writing experts tell us we must establish a theme before we begin writing our novels.

Themes usually sound clichéd or silly, like “Murder doesn’t pay,” the basic theme of most murder mysteries, or “Love conquers all,” the basic theme of most romances. To a certain extent, all novels have the same underlying theme: “Who are we individually and collectively?” Good fiction brings us closer to knowing the truth about ourselves, our place in the universe, and how we relate to others, but as a theme, it is so broad as to be almost worthless.

Although I’ve never had any use for themes, I decided to do something different and establish one for my current work in progress, a take-off on apocalyptic novels. Turns out it was simple. All I had to do was look at the character sketch I created for the story, and I found this: “He will be forced to decide how much of his freedom he is willing to give up for safety, and how much of his safety he is willing to give up for his freedom.” Sounds like a theme to me. (And an unexpected use of my character sketch.)

Now that I have a theme, what do I do with it? When I need to figure out what my hero will do, I can refer to the theme to help me understand what he wants, what his motivations are. If I need a subplot, I can choose one that will enhance the theme. I can give relationships, especially minor ones, a greater significance by keying them into the theme. I can use it to give scenes and dialogue relevance beyond the immediate. Best of all, if the theme does what it is supposed to, it will give the story an underlying structure and resonance it would not otherwise have.

Maybe those dead writers are not laughing in their graves after all. Maybe they are high-fiving each other because we got what they were trying to say.

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Not Exactly a Rave Review, But a Fair Assessment

January 24, 2008 — Pat Bertram

Well, here it is. The Publishers Weekly review of my Amazon Breakthrough Novel Award entry Daughter Am I:

A group of spunky octogenarians joins a woman on a search to discover the truth about the grandparents she never knew she had. After inheriting the farm of her estranged, murdered grandparents, Mary Louise Stuart discovers photos and an address book in the Colorado farmhouse and becomes obsessed with finding out who her grandparents were and who would want them dead. With each question, another senior citizen joins the quest — former friends and gangsters with names like Crunchy, Iron Sam, Happy, Lila Lorraine. The mystery deepens with each stop in their whirlwind tour of the Midwest: who’s following them? A love interest ensues between Mary and Tim Olsen, whose grandpa was good friends with her great-grandfather. While the author certainly researched the history of the Mafia, too many of the numerous historical asides — and subplots — are tacked on under the guise of story time, making the story drag with detail abut Wyatt Earp, the JFK assassination and bootleggers. But underneath the relentless bouts of story time is a delightful treasure-hunting tale of finding one’s self in a most unlikely way.

Not exactly a rave review, but a fair assessment.

I can understand why the reviewer didn’t like my “relentless bouts of story time,” but the whole purpose of my writing the story was to debunk the myths about the so-called Mafia in this country. The Mafia as we know it is a figment of Hollywood. Teach, a con man and the storyteller in my novel, says, “People talk as if the Mafia and the Syndicate are still active today, but the Syndicate phased out the American Mafia, wealth phased out the Syndicate, and now new gangs of all races and nationalities have taken their place.”

I wanted a framework for telling the history of gangsterism in this country, and I decided on a mythic journey using aged gangsters for the archetypal figures. As the hero’s journey progresses, her mentors tell stories of the old days. Listening to the stories and putting all the pieces together, she learns who her grandparents were and who she is.

I suppose I could take out some of the stories to make the novel more publishable (which I will do if an agent or editor ever requests it) but for now they stay. Until I read this review, I hadn’t realized how much I miss the all those novelists who did tack on historical asides. In fact, I used to seek out books by authors such as Taylor Caldwell and Noel Barber for that very reason.

So, if that’s the only thing the reviewer objected to, I have no objection to the review.

You can take a look at my entry here: http://www.amazon.com/dp/B00121WDKQ

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We Read Fiction to Make Sense of Life’s Disorder

January 22, 2008 — Pat Bertram

Life is often disordered, but fiction cannot be. We read fiction to make sense of life’s disorder, and we demand that things make sense. No matter how well ordered the rest of the plot, when a stranger comes and simply hands the hero the one element he needs to complete his mission, we feel cheated. The hero should have to work for his goals.

This same order must be inherent in every bit of the book, characters as well as plot. Foolish and spontaneous actions, arbitrary decisions and behavior make the story unbelievable. A character can’t simply wake up one morning with a desire to change jobs, or go on a quest, or hunt for a murderer. While such whims are a part of our lives, they are not part of fictional characters’ lives. All their decisions must be motivated.

A character can wake up one morning with a desire to change jobs, for example, but the author needs to add a few words to explain why: a quarrel with a boss, a promised promotion that doesn’t materialize, a backbiting co-worker. If a character must quit on a whim, the author has to establish motive from within the character. Perhaps the character always acts on whim, in which case the author needs to show that. Or perhaps it’s June; the scents seeping in the open window remind the character of the long summer days of childhood, and he has an overwhelming need to experience that freedom again.

Readers will believe almost anything an author wants them to believe, as long as it is motivated.

At the beginning of my book, More Deaths Than One, (which can be seen by clicking on the My First Chapters link off to the right) I have Kerry, a graveyard-shift waitress, showing an interest in Bob, the quiet hero, who stopped by the coffee shop every night for a hot chocolate. I always thought it was enough that she was bored and was playing games with him, trying to get him to talk, but a reader told me she found Kerry’s motivation for involving herself with Bob a bit thin.

Because Bob is debilitated by headaches and nightmares, I need Kerry to push him into action when he discovers that the mother he buried twenty years ago is dead again and that he has a doppelganger living what could have been his life. If her motivation for involving herself with Bob isn’t believable, then the whole book falls apart.

I thought I was finished with Bob and Kerry. More Deaths Than One was the first book I wrote, also the third and the fifth, and now it looks like it might be the seventh.

In life, as in fiction, we have to work for our goals, but I wouldn’t mind if a stranger came and simply handed me a publishing contract.

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Mafia Cat Rejects Hilter. Hitler Breaks Off German-Italian Alliance. War Ends.

January 18, 2008 — Pat Bertram

I once read that certain topics were guaranteed attention getters. The only four from that list I remember are Hitler, the Mafia, war, and cats, to which I would add rejection. My post “A Rejection So Pleasant It Was Almost an Acceptance” attracted more attention than the last four combined. The title of this post is a 12-word short story based on those five attention getters (it got you here, didn’t it?) but the one I will be focusing on is rejection.

Rejection is hard to deal with because we feel so . . . rejected. Writers aspiring to be published, however, need to learn how to deal with it. There are hundreds of thousands of books written each year by unpublished novelists, and only a couple of hundred will be accepted by major publishers. Rejection, then, is part of the game.

A fellow writer pointed out that my great rejection letter scored high on the etiquette scale, but it was very likely a form letter. He could be right. I once got a rejection letter from an agent that was printed out on a computer and addressed to me personally. The letter spoke of my writing ability, mentioned the name of my book and how they had considered taking it on but had to pass because the subject matter was not quite right for their agency. Pleased with the personal touch and believing I was close to finding representation, I checked to see which of my novels would be a better fit, shot off another query, and received the same basic rejection letter in return. Definitely a case of a form letter that scored high on the etiquette scale.

If it is possible to write rejection letters that make the recipient feel good, why do agents and editors send letters that are cold, almost cruel? Because, despite what they say, they do not want to be queried. They get thousands of queries a year, and each of those queries mean unpaid work.

My advice? Briefly glance at any letter you receive to make sure it is a rejection, then shred it. Get it out of your sight. Send out more queries; to a certain extent, the more you are rejected, the more you become inured to it. Also, learn to see rejection letters for what they are: an attempt at keeping you from bothering that agent or editor again.

And hope that one day you will become so well known that those agents will seek you out, and then you can send them rejection letters.

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A Rejection So Pleasant It Was Almost an Acceptance

January 16, 2008 — Pat Bertram

 Yesterday I received two encouraging emails. The first was a rejection letter from an agent:

“Thank you for allowing us to review your manuscript for Light Bringer. Your writing is very impressive and, on a personal level, I enjoyed the story immensely. Unfortunately, at this time, we are not prepared to offer a contract for representation.

“I know it is disappointing to receive a rejection, but this is certainly not meant to suggest that your work is without merit. Rather, given the small size of our agency and the fluctuating nature of the market, our literary needs change periodically and sometimes we must pass on good writing simply because it doesn’t match those needs.

“Given the quality of your work, it really is just a matter of time and persistence before you find the right agent or publisher.”

The second email was a notice from Amazon regarding my novel Daughter Am I:

“Thank you for participating in the Amazon Breakthrough Novel Award. We received thousands of submissions and were impressed by the incredible talent and creativity seen in the entries. We are happy to inform you that you have been selected as a semi-finalist.

“You can find your entry on Amazon.com via the following link: http://www.amazon.com/dp/B00121WDKQ.

“Now that you’re a semi-finalist, feel free to encourage friends and family to review yours and others’ entries.”

It sounds as if I had a good day, which I did, but at the end of it, I am still unpublished. Persistence is something I can do, but I could also use some help. If you get a chance, will you check out my ABNA entry? You can download it by clicking on the above link.

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On Writing: Gifts from the Muses

January 15, 2008 — Pat Bertram

When I begin to get immersed in a creating a book, whether by writing or simply by working it out in my mind, I look twice at everything that comes my way, wondering if it is a gift from the muses.

Today I received a begging letter from The Nature Conservancy, which described the Karner blue butterfly, and what they are doing to preserve it. I tossed the letter into the trash, then immediately fished it out. I’m familiar with blue wasps, and recently I saw a huge blue bee, but I had never seen a blue butterfly, and the thought captured my imagination.

I could see it, a scene in my new novel — a savannah of blue lupines, clouds of blue butterflies, a swarm of blue bees, a few blue wasps daubing in the mud. My characters would be filled with awe as they made their way through the blue, but it would be so strange that they would also be fearful.

Of course, like all gods and goddesses, the muses are fickle and love to play tricks on us humans. I wouldn’t be surprised if by the time I finished writing my book and got it published, blue would have been done to death. The nine muses will be out there somewhere in the great blue yonder, laughing at me and my gullibility in thinking I was original.

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Creating a Character — Part V

January 10, 2008 — Pat Bertram

Interesting characters make interesting stories, not the other way around. Cardboard cutouts and comic book heroes serve the needs of many popular books today, but I want more than that for my current work. A tongue-in-cheek apocalyptic novel, it could easily dissolve into foolishness without a well-developed character to give it credibility. During my last few posts, I have been profiling this character, but he is still not fleshed out. He needs physical characteristics, though not all characters are defined by the way they look. If I remember correctly, Mark Twain never described Huckleberry Finn.

Does it matter what my character looks like? I won’t know for sure until I start writing the book, but I doubt it. He is an ordinary guy who becomes extraordinary because of all he endures. Now that I think about it, that is the basic plot of all of my books, and one I never get tired of reading or writing. I realize that to sell in this tight market, a book has to immediately capture the attention of an agent, an editor, a reader, and to do that you need more than an average guy. But I am so tired of reading about gutsy females, stone-cold business executives, leftover war heroes, beaten-down cops, bitchy/successful/beautiful/rich women, muscle-bound gunslingers, that an average guy suits me and my story just fine.

My main characters all tend to be stoic, which make them seem unbelievable or standoffish. Most people like to experience emotions vicariously, and if characters react stoically, it makes it hard for readers to identify with them. So I need a character tag: a habit or trait that helps Chip stand out from the page. It’s a simple thing, but I decided he likes candy — not just any candy, but something specific like licorice or butterscotch. He always carries a few pieces with him, and then one day not long after the world ends, he reaches into his pocket for a candy that isn’t there. This, more than anything else he has experienced, tells him that the world he knew is gone, and his stoicism slips. Does he cry? Scream? Have a temper tantrum? Throw things?

I don’t know. I guess we’ll find out after I write the book.

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Creating a Character — Part IV

January 9, 2008 — Pat Bertram

In an earlier post, I suggested using the Luscher color test as a means of profiling a character. To see if it would work, I had Chip, the hero of my work in progress, take the test at www.colorquiz.com.

I know enough about Chip and about colors to figure out what his choices might be. Green signifies a stable and balanced character, so that was Chip’s first choice. Blue, signifying tranquility, was his second. Brown, signifying a down-to-earth character was his third. Gray, signifying a preference for a safe, secure and balanced existence was next. Magenta, orange, and yellow were a toss-up since he didn’t particularly care for any of them, and black, signifying negativity, was his last choice.

This was the result of the test:

His Existing Situation: Uneasy and insecure in the existing situation. Needs greater security and a more affectionate environment, or a situation imposing less physical strain.

His Stress Sources: Wishes to be independent, unhampered, and free from any limitation or restriction, other than those which he imposes of himself or by his own choice and decision.

His Restrained Characteristics: Egocentric (self-conscious) and therefore quick to take offense. Wants to broaden his fields of activity and insists that his hopes and ideas are realistic. Distressed by the fear that he may be prevented from doing what he wants; needs both peaceful conditions and quiet reassurance to restore his confidence.

His Desired Objective: Needs a peaceful environment. Wants release from stress, and freedom from conflicts or disagreement. Takes pains to control the situation and its problems by proceeding cautiously. Has sensitivity of feeling and a fine eye for detail.

His Actual Problem: Does not wish to be involved in differences of opinion, contention or argument, preferring to be left in peace.

If you have been following Chip’s development, you can see that this is an interesting and accurate profile. I might have all of my characters take it, especially the minor characters who don’t need a full character sketch. Feel free to do the same.

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